Spanish designer Carlota Barrera presented her “après-ski” man this Monday at an event in London as part of the autumn-winter 2022 edition of the London Fashion Weekwhich is showing its strength despite the difficulties it is going through due to Brexit and the pandemic.
Carlota Barrera traveled to the fifties, to the “après-ski” images of photographer George Silk for LIFE magazine. “This collection is about resting after skiing. I dug through the archives and found these magnificent images of people sunbathing in the snow,” she told Efe in an interview.
That apparent contradiction between sun and snow questioned him in the face of the climatological instability that we suffer.
“There is no snow, everything is melting and we have no seasons,” lamented the creator, concerned about the climate crisis. From a practical point of view, she reflects it in her collection “The last run”, which turns towards non-seasonality.
There are garments for all temperatures, layered looks, trans-seasonal shorts and coat combos complete with Quiksilver accessories.
Recycled nylon has been added to the natural fiber fabrics that it habitually uses: “There is a lot of cotton, silk and wool. Wool is a very sustainable fiber in its production and duration, as well as being very kind to the skin,” he says.
The collection has been produced in family workshops that meet quality and ethical standards. “In Spain there is a lot of industry that is disappearing as a result of the demanding production minimums of fast fashion,” he says.
However, it has installed a new study in Madrid “to be in Europe and close to the Spanish, Portuguese and Italian workshops. In the UK, the fashion industry is suffering tremendously from logistical and commercial difficulties.”
At her first in-person event in London since launching her brand, Carlota Barrera opted for a small, festive gathering attended by Royal Ballet dancers Matthew Ball and Harris Bell.
The firm, which is three years old, has been made known in the midst of all the restrictions and thanks to the digital world, although the official presentation will take place this Tuesday on the digital platform of the London Fashion Week.
From the 16th century to the Metaverse
Many houses look outside the UK. Vivienne Westwood, who has returned to the official London calendar, presented this Monday in digital format and will parade at Paris Fashion Week.
The mother of the “buy less, choose well, make it last” slogan brought back the 2001 “Wild Beauty” collection, in which feline prints and panther-inspired cutting technique winked at the Chinese Year of the Tiger.
Westwood resorted to the painting “The combat between Don Carnal and Doña Cuaresma”, by Pieter Brueghel the Elder, in which the peasants seem to be under the effect of the fungus used for LSD, as a result of eating moldy corn.
Pieter Brueghel the Elder, a painter of human weaknesses and follies, was a double reference this Monday, since the Belgian designer Raf Simons was inspired for the men’s and women’s collection of his homonymous brand in the painting “The Flemish proverbs” of 1559.
In it, the tailored jackets with voluminous shoulders, the patent leather fabrics and the hats that reproduced those of the characters in the painting stood out.
And if Westwood and Simons looked to the 16th century, Roksanda Ilincic looked to the future. The Serbian designer was the first to feature her designs on NFT, thanks to a collaboration with the Digital Fashion Institute and payment app Clearpay.
His online store launched three “demi-couture” dresses, for three different pockets, while parading the physical garments at the Tate Modern museum, before the powerful editor Anna Wintour and a cast of guests in the brand’s flashy suits.
Roksanda’s colorful geometry reached new dimensions in this proposal in which he has worked together with the Irish artist Eva Rothschild. The generally aristocratic silhouettes became eminently sporty and transgressive in an unexpected collaboration with the FILA brand.
Emilia Wickstead also presented her proposals, together with Roksanda, one of the designers of the Royal House and the British bourgeoisie.
As in his collection last winter, Wickstead drank from the cinema. On this occasion, the bourgeois myth played by the recently deceased actress Monica Vitti and Michelangelo Antonioni’s cinema of solitary confinement were the seed. The sartorial lines of the Milanese woman sifted through the costumes of the films “La Notte” and “L’Avventura” were reflected in a collection of discreet luxury and femininity.